The artistic consciousness of Maxwell, which caught all the fine reluctances and all the delicate feminine preferences of his wife, was like a subtle web woven around him, and took everything, without his willing it, from within him as well as from without, and held it inexorably for future use. He knew the source of the impassioned rubbish which had displeased his wife; and he had felt while he was employing it that he was working in a commoner material than the rest of Salome's character; but he had experimented with it in the hope that she might not notice it. The fact that she had instantly noticed it, and had generalized the dislike which she only betrayed at last, after she had punished him sufficiently, remained in the meshes of the net he wore about his mind, as something of value, which he could employ to exquisite effect if he could once find a scheme fit for it. In the meantime it would be hard to say whether Godolphin continued more a sorrow or a joy to Maxwell, who was by no means always of the same mind about him. He told his wife sometimes, when she was pitying him, that it was a good discipline for him to work with such a man, for it taught him a great deal about himself, if it did not teach him much else. He said that it tamed his overweening pride to find that there was artistic ability employing itself with literature which was so unlike literary ability. Godolphin conceived perfectly of the literary intention in the fine passages of the play, and enjoyed their beauty, but he did not value them any more than the poorest and crudest verbiage that promised him a point. In fact, Maxwell found that in two or three places the actor was making a wholly wrong version of his words, and maturing in his mind an effect from his error that he was rather loath to give up, though when he was instructed as to their true meaning, he saw how he could get a better effect out of it. He had an excellent intelligence, but this was employed so entirely in the study of impression that significance was often a secondary matter with him. He had not much humor, and Maxwell doubted if he felt it much in others, but he told a funny story admirably, and did character-stuff, as he called it, with the subtlest sense; he had begun in sketches of the variety type. Sometimes Maxwell thought him very well versed in the history and theory of the drama; but there were other times when his ignorance seemed almost creative in that direction. He had apparently no feeling for values; he would want a good effect used, without regard to the havoc it made of the whole picture, though doubtless if it could have been realized to him, he would have abhorred it as thoroughly as Maxwell himself. He would come over from Manchester one day with a notion for the play so bad that it almost made Maxwell shed tears; and the next with something so good that Maxwell marvelled at it; but Godolphin seemed to value the one no more than the other. He was a